Actuakers One of my all time favorites.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

JLRMovieReviews Lana Turner has 37 million dollars. John Lund has 48 million. She feels he's about to pop the question and thought she wanted to marry him -- until now, that is. He has to go to Brazil to look at some ponies he's interested in buying and to play a little polo. During a night on the town, she is intrigued when she is asked to dance by a Brazilian (who just happens to be in town), and he tells her not to go to Brazil. "It would be dangerous for you. There's something about the air in Brazil. Men in Brazil see what they want and just take it." She hops on a plane, going after Lund, who she thinks will just take her (up in his arms.) But this air only puts John Lund to sleep. Enter Ricardo Montalban. While he is showing his horses to John Lund, she takes an instant liking to Ricardo….and he notices her. The looks he gives her are too much and she acts more passionate here than I've ever seen her. But will he be bothered by her money? Jean Hagen is good in a supporting role as her secretary, and John Lund is good as a stuffed shirt. Louis Calhern is great as Ricardo's grandfather, providing a touch of class. (A side note that many may not know: Not only was Louis Calhern also in Lana's "A Life of Her Own" and "The Prodigal" but, in "The Bad and the Beautiful," he provides the voice of her father's on the record that Kirk Douglas smashes.) This was supposed to be a reunion movie with Fernando Lamas. (They made "The Merry Widow" prior to this.) But since they were no longer together as a couple, she wanted someone else to play opposite her. This was a break for Ricardo, who looks like he is having the time of his life. (Even though that wasn't him really singing.) Rita Moreno dances the samba with him, teaching Lana how to do it right. But, Rita gets jealous of her real quick, when she discovers he likes Lana. With their attraction to each other and the way they move together, it almost seems like we shouldn't be watching.But, if you've never seen Lana and Ricardo, looking their best and complementing each other, then you're missing something. Granted the movie may get silly, like with her Portguese teacher who'll practically live or die for her. But who cares? "Latin Lovers" may be colorful fluff, but it's one of the best and most provocative colorful fluffs you're likely to see. Just sit back and enjoy!

joseph952001 This movie came right on the heels of The Merry Widow and was suppose to reunite Lana and Fernando for one more film, but - uh - complications arose! So, Lana Turner tells it in her autobiography, they were at a party and Lex Barker asked Lana to dance with him, and she didn't know how jealous Fernando could be and she accepted, and after the dance, he thanked her and Fernando said something like "Why don't you take her in the bushes and f--- her!" Then they went home and an argument took place and Fernando beat her up and caused bruises all over body. So, she reported this to the studio with the claim that she would not make the movie with Fernanado, and so they replaced him with Ricardo Montalban a very devout Catholic and would not, in any way, have an affair with Lana. So, later on Fernando never knew why he was taken off the picture. Well, according to Esther Williams, who would later marry Fernando; in her autobiography she stated that Lana would yell out in her doorway of her dressing room, "Fernando, you get your f----ing Argentine ass in here!" And, also, according to Esther Williams, she placed a glass on the wall of her dressing room and heard Lana moaning "Ohhhhhh! Fernado!!!!!!" And that Lana at times would take a leather belt to her body and put the bruises on her legs and body herself and claim it was someone else! And to prove that Fernando didn't ever lay a hand on Lana, he successfully stayed married to Esther Williams until the day he died! Oh!!!! For those old days when we had these colorful genius that made those great movies! Where are these colorful genius' today? Don't have any! Anyway, true, this movie is very entertaining, but it's really just a rehash of The Merry Widow in many ways, and if you notice, when Lana hears Ricardo singing, the same lighting, the same look on her face before they do the Samba together. One thing that not too many people never knew about Lana Turner is that she was an excellent dancer, and only showed signs of it in The Merry Widow and Latin Lovers, but the ending is kinda unrealistic. If she "did" give the money to Ricardo, I'm sure she was smart enough to keep most of it for herself with him knowing about it! After all, he didn't know how money she had! By the way, that was not Ricardo singing. He can sing, but that wasn't his voice and you almost expect them to repeat "Baby It's Cold Outside" and of course, I'm surprised that in many of the scenes Lana never once said those famous lines, "Oh! Ricardo! No!" Oops! That was the line used by Esther Williams! And speaking of Esther Williams, since movies like this usually have guest movie stars in them, I'm surprised that Esther didn't do some kind of Brazilian Samba Water Ballet in it! Not Lana's best, but a nice diversion on a boring weekend afternoon with nothing to do!

moonspinner55 Shallow time-filler, directed by the estimable Mervyn LeRoy (who must have been a bit embarrassed), this picture-postcard travelogue-cum-romance should have put Ricardo Montalban on the map as a huge matinée idol. Montalban never quite broke the ethnic barrier to become a Valentino-type player in Hollywood, and filmdom certainly missed a prime opportunity. Montalban swaggers and struts and exudes mucho charisma as a horse rancher in Brazil who falls for vacationing heiress Lana Turner. Semi-musical piece of Hollywood factory gloss entertains in its fashion, but you'll be ashamed of yourself in the morning. Turner is so aloof that even Ricardo fails to melt her icy exterior, but the South American flavor is amusingly captured and the picture looks good enough to eat. ** from ****

Greg Couture This one is much more fun than its inevitable detractors might lead you to believe. The cast, including Jean Hagen (who almost stole the show with her unforgettable Lina Lamont in "Singin' in the Rain"), Louis Calhern strutting his elegant stuff as a superannuated Brazilian, a very young Rita Moreno, the handsome John Lund once again playing a stuffy moneybags (as he did a little later in "High Society"), and Dorothy Neumann who gets some of the best of Isobel Lennart's cleverly scripted lines (with digs at psychoanalysts and their patented brand of voodoo.)The story is pure Hollywood dream manufacture but it's so handsomely mounted and lushly photographed by that master of the color cameras, Joseph Ruttenberg, that objecting to it prompts the inevitable question, "Why in the heck did you watch it if you weren't in the mood for something with no relationship whatsoever to the real world?" Lana looks gorgeous and Helen Rose had the inspiration to dress her only in black and white and combinations thereof, contrasting her more than strikingly against the ultra-lush Technicolor trappings. She gets to do an ultra-smooth samba with her co-star Ricardo Montalban, who had the good fortune to step in as a replacement for the originally cast Fernando Lamas, whose real-life romance with Luscious Lana had very publicly come to a rocky impasse. Mervyn LeRoy, who had the distinction of mentoring Lana in the earliest days of her Hollywood ascendancy, directs with that machine-tooled efficiency that a vehicle of this kind must have if it is going to come anywhere near to a suspension of disbelief. With all of the first-class elements that Miss Turner was traditionally surrounded during her days as M-G-M's reigning boxoffice beauty, this is the kind of escapism that is, perhaps lamentably, a thing of a very distant past. When you're feeling benign, this one is fine!